In order to avoid the implication that ‘mitochondrial replacement techniques’ (MRT) would produce ‘three parent babies’, discourses around these techniques typically dismiss the contribution of the mitochondria to genetic parenthood and personal identity. According to many participants in debates about MRT, ‘real parenthood’ is a matter of contributing nuclear DNA, which in turn implies that men and women make the same contribution to the embryo. Even when the importance of the mitochondria is acknowledged, an emphasis on mitochondrial DNA still has (...) the effect of valorizing the role of DNA (and thus the paternal contribution to conception) at the expense of the role played by the cytoplasm of the oocyte in the development of the embryo and placenta, and that of the mother’s body in gestation. In this way, discourses around MRT falsely imply that what men and women contribute to reproduction and parenthood is the same—nuclear DNA—and thus erase the distinctive contribution that women make to conception. The potential of MRT to reconfigure relationships between the sexes in the service of patriarchal norms is perhaps one of the most significant things about it and should, we argue, be counted in the discussion of the ethical and policy implications of legitimating these procedures. (shrink)

The role of reason has been seriously neglected as a necessary element in our life of faith. In this booklet, Dr. R.C. Sproul demonstrates the interplay between faith and reason in all aspects of our lives as children of God. Dr. Sproul provides good reason to believe God through knowledge of Him in order to be able to live by faith. Central to understanding how to live by faith is understanding how God redeems people. Dr. Sproul explores (...) how God redeems sinners in Christ by looking at Martin Luther and a central doctrine of the Reformation: justification by faith. After examining the importance of justification, Dr. Sproul answers questions about dying well in faith, while looking to Abraham and the book of Hebrews for examples of people who have lived by faith to show why faithfulness should be a dominant character of every Christian. (shrink)

Question of conscience -- Creation ordinances -- Razor's edge -- Legalist distortion -- Distortion of lawlessness -- Degrees of sin.

Preface -- Ethics and morals -- Revealed ethics -- Legalism and antinomianism -- The ethics of materialism -- The ethics of capital punishment and war -- The ethics of abortion -- Ethics and the conscience.

Is time travel just a confusing plot device deployed by science fiction authors and Hollywood filmmakers to amaze and amuse? Or might empirical data prompt a scientific hypothesis of time travel? Structured on a fascinating dialogue involving  ...

This is a basically expository article, with some new observations, tracing connections of the quantum potential to Fisher information, to Kähler geometry of the projective Hilbert space of a quantum system, and to the Weyl-Ricci scalar curvature of a Riemannian flat spacetime with quantum matter.

PurposeThe purpose of this essay is to highlight how the digital age makes visible community expression and organization on an international scale.Design/methodology/approachThis project provides a rhetorical analysis of the sub-cultural twitter hashtag “#Palestine2Ferguson”. By focusing on #Palestine2Ferguson, this piece interrogates the ways groups that have been displaced by oppression can build bridges in the new digital age. Through the adaptation of Deluca and Peeples “public screen”, this project reveals how increased sophistication of discernment adds a new “touch” to the screen.FindingsAn (...) analysis of #Palestine2Ferguson through the lens of “the public touchscreen” emboldens rhetorical studies understanding of how ethnic/racial minority individuals are capable of self-selecting their method and modes of self-expression when building community.Originality/valueThe transformation of life within the digital age has created an exigence for a reconsideration and expansion of Deluca and Peeples concept of “public screens”. (shrink)

There is a longstanding definition of instantaneous velocity. It saysthat the velocity at t 0 of an object moving along a coordinate line is r if and only if the value of the first derivative of the object's position function at t 0 is r. The goal of this paper is to determine to what extent this definition successfully underpins a standard account of motion at an instant. Counterexamples proposed by Michael Tooley (1988) and also by John Bigelow and (...) class='Hi'>Robert Pargetter (1990) are reinforced and illuminated by considering the presence or absence of changes to the object's motion. (shrink)

Humour is a source of moral concern because some jokes contain both elements of immorality and funniness. This raises the question of whether jokes can be funny despite moral flaws and, more generally, how immorality affects funniness. One answer to this question is comic moralism; the position that immorality negatively affects funniness. Berys Gaut has given a merited-response argument in defence of comic moralism, but Noël Carroll has criticised this argument. In this paper, I defend Gaut's argument from (...) class='Hi'>Carroll's criticism. Specifically, I argue that benign appraisal is a necessary condition for amusement, which is a commonly proposed claim across many disciplines. (shrink)

This chapter illustrates a theory that describes how certain modal statements, including counterfactual sentences, are dependent on context. Building on the work of Robert Stalnaker and David Lewis, its application to a familiar argument for fatalism and a recent exchange about time-traveler freedom between Kadri Vihvelin and Ted Sider is considered. This chapter presents a new perspective on the flaws and the seductiveness of both the fatalist argument and the freedom paradox. This new perspective may be applied to arguments (...) for incompatibilism advanced by Carl Ginet and Peter van Inwagen. The issue of the compatibility of free will and determinism is generally regarded as one of the most serious metaphysical issues about human freedom. Consequence arguments of the sort made famous by Inwagen and Ginet are the leading arguments in favor of incompatibilism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Noël Carroll THE PARADOX OFJUNK FICTION Perhaps on your way to some academic conference, if you had no papers to grade, you stopped in die airport gift shop for something to read on the plane. You saw racks of novels authored by die likes of Mary Higgins Clark, Michael Crichton, John Grisham, Danielle Steele, Sidney Sheldon, Stephen King, Sue Grafton, Elmore Leonard, Sara Paretsky, Tom Clancy, and so (...) on. These are the kinds of novels that, when you lend them to friends, you don't care, unless you live in Bowling Green, Ohio, whether you ever get them back. They are mass, popular fictions. In another era, they would have been called pulp fictions. Following Thomas Roberts,1 I will call diem junk fictions, under which rubric I will also include things like Harlequin romances; sci-fi, horror, and mystery magazines; comic books; and broadcast narratives on either the radio or TV, as well as commercial movies. There are a number of interesting philosophical questions diat we may ask aboutjunk fiction. We could, for example, attempt to characterize its essential features. However, for the present, I will assume that the preceding examples are enough to provide you with a rough-andready notion of what I am calling junk fiction, and I will attempt to explore anotiier feature of the phenomenon, viz., what I call the paradox ofjunk fiction. Thejunk fictions that I have in mind are all narratives. Indeed, dieir story dimension is die most important thing about diem. Stephen King, for instance, makes diis point by saying that he is primarily a story teller rather than a writer. Junk fictions aspire to be page-turners—the blurb on the cover of Stillwatch by Mary Higgins Clark says that it is "designed to be read at breatiitaking speed"—and what motivates turning die page so quickly is our interest in what happens next. We do not dawdle Philosophy and Literature, © 1994, 18: 225-241 226Philosophy and Literature over Clark's diction as we might over Updike's nor do we savor die complexity of her sentence structure, as we do widi Virginia Woolfs. Radier, we read for story. Moreover, junk fictions are die sort of narratives that commentators are wont to call formulaic. That is, junk fictions generally belong to well-entrenched genres, which diemselves are typified by tiieir possession of an extremely limited repertoire of story-types. For example, as John Cawelti has pointed out, one such recurring Western narrative is diat of the recendy pacifist gunfighter, like Shane, who is forced by circumstances to take up his pistols again, widi altogedier devastating effect.2 Junk fictions tell diese generic stories again and again with minor variations. Sometimes diese variations may be quite clever and unexpected. Agatiia Christie was the master of this; she was able to use the conventions of the mystery genre in order to "hide" her murderers. In TheMurderofRogerAckroyd, she "secrets" the murderer in the personage of the narrator; in Ten Little Indians, die murderer is a "dead man"; while in Murder on the Orient Express, all the suspects did it. In each of these cases, Christie's brilliance hinges upon her playing (and preying) upon conventional expectations. Neverdieless, even diese surprising variations require a well-established background of narrative forms. That is, in order to appreciate diese variations, die reader must in some sense know die standard story already. And with junk fiction, it is generally fair to say that in some sense, the reader—or, at least, the reader who has read around in die genre before—knows in rough oudine how die story is likely to go. Readers and/or viewers of Jurassic Park surmised, once die dinosaur enclosures were described, diat in fairly short order die dinosaurs would trample them down and go on the rampage—after all we had already seen or read The Lost World, King Kong, and their progeny. So, junk fictions are formulaic. They rehearse certain narrative formats again and again. And, furthermore, in some very general sense, the audience already knows die story in question. But this knowledge on die part of die audience provokes a question, specifically, why if the reader, viewer or listener already... (shrink)

Discussion and debate on stakeholder theory continues unabated, but not a lot of people know that it first began in Finland in the 1960s, as this report of a recent Conference there shows. Archie B. Carroll, the well‐known writer on corporate social responsibility, is Robert W. Scherer Professor of Management at the University of Georgia, Athens, GA, USA (e‐mail [email protected]); and Juha Näsi is Professor of Management at the University of Jyväskylä, Jyväskylä, Finland.

Both my deflationary approach to aesthetic experience and what I call moderate moralism have been challenged recently in the pages of the British Journal of Aesthetics by Paisley Livingston, Robert Stecker, and George Dickie. In this essay, I attempt to deal with their objections while also trying to move the debate to new ground.

Discussion and debate on stakeholder theory continues unabated, but not a lot of people know that it first began in Finland in the 1960s, as this report of a recent Conference there shows. Archie B. Carroll, the well‐known writer on corporate social responsibility, is Robert W. Scherer Professor of Management at the University of Georgia, Athens, GA, USA (e‐mail [email protected]); and Juha Näsi is Professor of Management at the University of Jyväskylä, Jyväskylä, Finland.

In this essay I trace the role of history in the philosophy of art from the early twentieth century to the present, beginning with the rejection of history by formalists like Clive Bell. I then attempt to show how the arguments of people like Morris Weitz and Arthur Danto led to a re-appreciation of history by philosophers of art such as Richard Wollheim, Jerrold Levinson, Robert Stecker and others.

Several recent books have claimed to integrate literary study with evolutionary biology. All of the books here considered, except Robert Storey’s, adopt conceptions of evolutionary theory that are in some way marginal to the Darwinian adaptationist program. All the works attempt to connect evolutionary study with various other disciplines or methodologies: for example, with cultural anthropology, cognitive psychology, the psychology of emotion, neurobiology, chaos theory, or structuralist linguistics. No empirical paradigm has yet been established for this field, but important (...) steps have been taken, especially by Storey, in formulating basic principles, identifying appropriate disciplinary connections, and marking out lines of inquiry. Reciprocal efforts are needed from biologists and social scientists. (shrink)

Perhaps the most contentious part of the response to the Covid-19 pandemic has been the decision by governments to mandate—or effectively mandate—the shutdown of certain businesses. The justification for doing so is broadly consequentialist. The public health costs of not shutting down are so great that potential benefits from allowing businesses to open are dwarfed. Operating within this consequentialist framework, this paper identifies an underappreciated set of social costs that are a product of the present public policy that pairs mandated (...) shutdowns with government subsidies. Such policy is prone to being an instance of what Robert Higgs calls the ratchet effect. Given that ratchets tend to be both costly and sticky, it is best to avoid allowing them to come into existence. This paper identifies a way of circumventing this particular ratchet; namely, by replacing governmental subsidies with support from private charitable funds like The Barstool Fund. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The leading (...) idea in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

In the period between the mid-12th and mid-13th centuries, the notion of 'science' replaced that of 'art' as the category against which all areas of academic inquiry including theology were measured. This dissertation selectively traces one aspect of this change as it is understood by Thomas Aquinas: the understanding of the relationship of sacred and secular study given these two different models of learning, art and science. ;Hugh of St. Victor's Didascalicon is discussed as it represents the acceptance and assimilation (...) of the 'arts' into a program of Christian education in the 12th century. The author reinterprets two Augustinian themes--the epistemological theory of divine illumination and the notion that theology is 'faith seeking understanding'--and uses them to explain and parallel the methods and order of learning for secular and sacred study. ;Next some of the thinkers and texts which introduce and try to interpret the notion of science, its requirements, and its application to the various disciplines are covered. Chapter two is dedicated to two didascalic works which use the Aristotelian concept of science and Aristotle's classification of sciences to divide and define the secular sciences, and chapter three deals with the understanding of the nature of science and its relationship to theology in William of Auvergne, Robert Grosseteste, and the Summa Fratris Alexandri. These thinkers both introduce the notion of science with which St. Thomas works and form the background against which Aquinas articulates his interpretation of science and the sciences. ;In conclusion, I turn to Aquinas' view of the subjects and methods of theology and the theoretical sciences, which he explains using the language of Aristotelian science rather than that of the arts. St. Thomas reinterprets the requirements for science given in the Posterior Analytics in a way that makes them applicable to theology, and in the process changes their application to the secular sciences, resulting in an understanding of the learning process that is symmetrical to the one found in the Didascalicon. The sciences are formed and defined not in terms of their objects, but in terms of their rationes or formal perspective, and the method of the sciences and sacred theology Aquinas articulates is, as it is for Hugh of St. Victor, circular or dialectical. ;As with Hugh of St. Victor, the standard for secular study, in Aquinas' case 'science' not 'art', redefines sacred study or theology, and at the same time, secular study is shown to share certain properties of sacred study, namely the circular or dialectical structure implied by 'faith seeking understanding'. (shrink)

Throughout the Old Testament, the stories, laws, and songs not only teach a way of life that requires individuals to be moral, but they demonstrate how. In biblical studies, character ethics has been one of the fastest-growing areas of interest. Whereas ethics usually studies rules of behavior, character ethics focuses on how people are formed to be moral agents in the world. This book presents the most up-to-date academic work in Old Testament character ethics, covering topics throughout the Torah, the (...) Prophets, and the Writings, in addition to the use of the Bible in the modern world. In addition to Carroll and Lapsley, contributors are Denise M. Ackermann, Cheryl B. Anderson, Samuel E. Balentine, William P. Brown, Walter Brueggemann, Thomas B. Dozeman, Bob Ekblad, Jose Rafael Escobar R., Theodore Hiebert, Kathleen O'Connor, Dennis T. Olson, J. David Pleins, Luis R. Rivera Rodriguez, J. J. M. Roberts, and Daniel L. Smith-Christopher. (shrink)

l Carroll has recently replied to criticisms of his views about moderate moralism and aesthetic experience. This paper responds to the replies directed at me. Regarding moderate moralism, I suggest that far from being a critic, my proposals should be seen as friendly clarifications of that view. Regarding aesthetic experience, there are sharp differences between us. Here I defuse new criticisms Carroll directs at my conception of such experience, and attempt to demonstrate the implausibility of Carroll's concept-oriented (...) conception. (shrink)

Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are (...) art now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy. (shrink)

Advancing our understanding of one of the most influential 20th-century philosophers, Robert Vinten brings together an international line up of scholars to consider the relevance of Ludwig Wittgenstein's ideas to the cognitive science of religion. Wittgenstein's claims ranged from the rejection of the idea that psychology is a 'young science' in comparison to physics to challenges to scientistic and intellectualist accounts of religion in the work of past anthropologists. Chapters explore whether these remarks about psychology and religion undermine the (...) frameworks and practices of cognitive scientists of religion. Employing philosophical tools as well as drawing on case studies, contributions not only illuminate psychological experiments, anthropological observations and neurophysical research relevant to understanding religious phenomena, they allow cognitive scientists to either heed or clarify their position in relation to Wittgenstein's objections. By developing and responding to his criticisms, Wittgenstein and the Cognitive Science of Religion offers novel perspectives on his philosophy in relation to religion, human nature, and the mind. Contents: Introduction (Robert Vinten); Ch.1: 'Wittgenstein, Concepts, and Human Nature' (Roger Trigg); Ch.2: 'On Truth, Language, and Objectivity' (Florian Franken Figueiredo); Ch.3 'Pascal Boyer's Miscellany of Homunculi: A Wittgensteinian Critique of Religion Explained' (Robert Vinten); Ch.4 'The Brain Perceives/Infers' (Hans van Eyghen); Ch.5 'The Imaginary Inner Inside Cognitive Science of Religion' (Christopher Hoyt); Ch.6 'Cognitive Theories and Wittgenstein: Looking for Convergence not for Divergence' (Olympia Panagiotidou); Ch. 7 'Wittgenstein, Naturalism, and Interpreting Religious Phenomena' (Thomas Carroll); Ch.8 'Natural Thoughts and Unnatural Oughts: Lessing, Wittgenstein, and Contemporary CSR' (Guy Axtell); Ch.9 'Normative Cognition in Cognitive Science of Religion' (Mark Addis); Ch.10 'Brains as the Source of Being: Mind/Brain Focus and the Western Model of Mind in Dominant Cognitive Science Discourse' (Rita McNamara); Ch.11 'On Religious Practices as Multiscale Active Inference: Certainties Emerging From Recurrent Interactions Within and Across Individuals and Groups' (Inês Hipólito and Casper Hesp). (shrink)

Can we change our logic and if so how? In ‘The Question of Logic’ (this volume), Saul Kripke takes a certain message about this from Lewis Carroll’s famous pape.